For most, Jaipur’s City Palace is a gateway into the city’s layered past. However, for residents Sawai Padmanabh Singh and Gauravi Kumari, it has always been home before history. Their fondest memories are of racing down its grand corridors as children and celebrating festivals with family. Today, those same spaces serve as the backdrop to greater responsibilities— he, as custodian of the palace’s evolving narrative; she, as an advocate for Rajasthani craft and women’s livelihoods through the Princess Diya Kumari Foundation (PDKF) and The Palace Atelier. What unites them is a shared love for their city and a commitment to keeping its legacy alive. In conversation with Robb Report India, the duo reflects on heritage as something to be lived and engaged with, not merely preserved behind glass. Edited excerpts:
What was it like growing up in City Palace? What are some memories that stand out for you?
Padmanabh Singh (PS): The City Palace has always been home before anything else. Over time, we’ve become attuned to its rhythm. We’ve learned which doors open a certain way and which corridors stay cool even in the peak of summer. My most vivid memories are of the quiet moments, when the palace is empty. Walking through the galleries after dark, with only the hum of ceiling fans and the light catching on paintings, feels like stepping into another time. But it hasn’t always been grand or ceremonial. We’ve spent afternoons playing in the courtyards, celebrating festivals with family, or watching the staff perform rituals passed down for generations. It has given me a sense of continuity, of belonging to something larger than myself, even before I fully understood it.
Gauravi Kumari (GK): Some of my fondest memories are of running through the grand corridors with my brothers, laughing and playing in those historic spaces. Now that I’ve returned after time away, I cherish those moments even more. Spending time together is a luxury, and I’m grateful we shared it in such a setting.
Do you have any favourite hidden corners or a memory from the palace that makes you smile?
PS: It was one thing to grow up knowing that the objects in the museum were special, but it was quite another to see them in the quiet. It’s hard not to think about the weight that the pieces carry; they transform from just being objects behind glass to bearers of history. That sense of excitement and wonder is what I want every visitor to feel when they visit our galleries.
GK: When I was growing up, one of my favourite hidden corners in the City Palace was Badal Mahal. Although it is connected to the main palace, it has its own charm and a feeling of distance that makes it a peaceful haven. I feel fortunate to spend so much time there now, as it serves as the headquarters of PDKF. Being there connects me more deeply to the palace.
How did growing up in the palace shape the way you view heritage and your role today?
PS: When you spend your childhood surrounded by spaces that have witnessed generations, you understand that heritage is layered. Nothing exists in isolation—every wall, arch, passage carries a story, and the palace becomes a living archive that holds memory, history, and identity. That perspective has shaped how I see my role today: heritage must be engaged with, not just preserved. Through recent projects such as the museum rebrand and renovated galleries, the aim has been to create platforms where these stories feel accessible and relevant.
GK: Living in the palace meant being surrounded by objects, rituals, and people layered with meaning. For me, that often means working with design and craft, reintroducing these stories through a contemporary lens. Whether it’s in a textile detail, a motif, or a material used for generations, the aim is to keep the connection alive and relevant.
How would you describe the bond you both share?
PS: We’ve always been close. There’s an ease between us that comes from growing up in the same environment, surrounded by the same people, stories, and expectations. That familiarity creates understanding. We approach things differently, which brings balance. Our roles may vary, but there’s a shared sense of purpose— complementary rather than identical.
GK: We’ve grown up together, but I think what has made our relationship strong is the space we’ve given each other to grow on our terms. I’ve always seen him [Sawai Padmanabh Singh] as someone I can rely on. We may have different approaches, but there’s a sense of shared understanding that doesn’t need to be spoken. It’s simply understood.
What does luxury mean to you, coming from a lineage that defined royal opulence for centuries?
PS: Luxury, to me, is time. It’s the freedom to be present and experience something made with care and intention. Whether it’s a handcrafted object or a gesture rooted in tradition, the essence lies in how thoughtfully it is created and experienced. Coming from a family historically associated with opulence, I’ve come to value the difference between display and depth. The most meaningful expressions of luxury are rarely loud. They stem from skill, restraint, and a sense of purpose.
GK: Luxury is intention. It lies in how something is made, how long it lasts, and the stories it carries. It could be a handwoven textile, a piece of heirloom jewellery, or even an everyday object that reflects skill and tradition. It is not about how elaborate something is, but about the care in its making and the way it connects to what came before.
What is the one possession you own that represents your personal sense of luxury?
PS: Being surrounded by Rajasthan’s living heritage— whether through centuries-old festival traditions or by holding a handwoven textile from a local artisan— is priceless.
GK: My collection of poshaks, garments passed down through the women in my family, carries our history and heritage. Each one is adorned with exquisite work by master artisans, a level of craftsmanship rare today. They embody thoughtfulness and intention, preserving artistry, culture, and generations of memories.
How does being a modern royal with a global outlook shape your taste in art, fashion, travel, even cars or watches?
PS: Taste is shaped by familiarity. I still find myself reaching for muslin or linen kurtas, Rajasthani shoes, and clothes I’ve worn for as long as I can remember. My travels haven’t changed that. If anything, it’s deepened my appreciation. In art, design, and travel, I look for balance: clean lines, proportion, and simplicity. I don’t gravitate toward things that feel overly styled for effect. Whether it’s a classic car or a functional watch, I’m drawn to what is well-built and timeless.
GK: Growing up and travelling with my family, and later living in New York, exposed me to diverse cultures, aesthetics, and approaches to design. I’ve always been drawn to places where contrasts coexist, where nothing feels rigid, which is New York in essence. When I returned to Jaipur, I brought that perspective into my work at The Palace Atelier and PDKF, blending traditional forms with a contemporary lens.
What’s the most extraordinary experience you’ve had that money alone can’t buy?
PS: The greatest privilege is serving as a steward of history. The City Palace is far more than a home; it’s a testament to Rajasthan’s heritage and spirit. I’m acutely aware that my choices, big and small, become part of this ongoing narrative. Whether it’s restoring a structure or hosting an event that brings the community together, it’s an honour to shape a story that has been unfolding for hundreds of years and will continue for hundreds more.
GK: Learning the stories of those around us, especially the women of the PDKF, has been invaluable. Many have faced circumstances that limited their opportunities, yet remain deeply committed to building better lives for themselves and their families. Their determination is inspiring, and I value the time spent hearing about their experiences. It reminds me that the palace isn’t just a place of the past, it’s a living heritage, enriched every day by stories like theirs.
If you could invite three people—past or present— to a private dinner at the City Palace, who would they be?
PS: Sawai Jai Singh II, Jaipur’s founder, for his vision in blending science, art, and community. Charles Correa, whose architecture, especially at Jawahar Kala Kendra, reinterpreted our heritage for modern times. And Diana Vreeland, for her fearless creativity and for bringing India’s royal costumes into the global spotlight.
GK: Maharani Gayatri Devi, for her wisdom and her ability to balance tradition with progress. Amrita Sher Gil, for the way she captured women’s lives with depth and sensitivity. Elsa Schiaparelli, for redefining fashion as an art form and inspiring innovation.
What does your ideal day off look like?
PS: On a free day, I like to spend time at the polo ground. Riding has always been part of my routine, and even a few hours with the horses feels like time well spent. It’s not just about the sport, but the comfort I feel there. Beyond polo, time with family, a simple meal, or being outdoors when I want to slow down. But if I could choose, I’d always be on horseback.
GK: A perfect day off is one without rush. I like slowing down, spending time with family, catching up with friends, or being outdoors. If I step outside the palace, it’s usually to visit local markets or check in on ateliers we work with. Even in rest, I enjoy being around people who create. It doesn’t have to be elaborate, just a day with no fixed agenda that allows me to reset and return with clarity.
See the video here:
Photographs: Nishanth Radhakrishnan
Fashion and Creative Director: Vijendra Bhardwaj
Contributing Stylist: Mehak Khanna
Hair and Make up: Deepa Varma
Production: Aritra Mukherjee
Bookings Editor: Varun Shah
Location Courtesy: City Palace, Jaipur
